This may be, considering production quality and everything, the best performance Vilayat Khan has put on record. It is not so strange as the others in the series, and quite chilling. Before this, although the production quality was certainly setting a standard, the previous Vilayat Khan recordings asked as many questions as they answered. This rendition certainly answers a question [Vilken då, Todd?!], and by extension raises the stature of the others in the series.

This is Vilayat Khan’s own raga, performed very slowly. It presents something of a sphynx for the listener. Whether this is a groundbreaking innovation in the development of Hindustani music, or simply bizarre, is difficult to say.

This is Vilayat Khan’s own raga. Although not a standard raga, this is one of the most enjoyable recordings in the series. The Darbari family works well for Vilayat Khan, and here we have his own style in both performance and raga specifics. Whether others take up this raga remains to be seen, but it is quite successful here.

Except for the fact that it uses three different ragas in sequence, this is a rather straightforward performance for this series. Immediately enjoyable, and a haunting Marwa–Puriya sequence that leaves one wanting more.

This is one of Vilayat Khan’s most rhetorical performances, and a tough nut to crack. It has been very tempting for me to remove it from the list [Todd listar skivor han rekommenderar], principally on account of its sometimes-rambling character, but ultimately I find that it hangs together and is stimulating. It is not at all a dull performance, and is thought-provoking. I cannot ask for more than that.

This is certainly one of Vilayat Khan’s most intellectual presentations, and an interpretation to ponder for some time. The raga itself is not usually attempted by less experienced musicians, and takes some work to truly grasp. Vilayat Khan goes on to give a tour-de-force interpretation which makes no concessions. This is a recording which steadily grows on me.